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PASSIO  CHRISTI. 


Hir  hlcinc  passion. 


THE  LITTLE  PASSION 

OF 

'lUbcrt  JS'iircr 

REPRODUCED  IN  FAC-SIMILE. 

EDITED  BY 

W.  C . PRIME. 


NEW  YORK : 

J.  W.  BOUTON,  416  BROOME  STREET. 

1868. 


Entered,  according  to  Act  of  Congress,  in  the  year  1868,  by 

w.  c . PRIME, 

in  the  Clerk’s  Office  of  the  District  Court  of  the  United  States  for  the  Southern 

District  of  New  York. 


Reproduction  by  Photographic  Process  and 
Printing  by  the  New  York  Lithographing,  Engraving  and  Printing  Co. 
16  & 18  Park  Place. 


THE  LITTLE  PASSION. 


N presenting  this  volume 
to  the  American  public  I 
have  had  a double  object. 
The  series  of  illustrations  is 
not  unfamiliar  to  European 
eyes,  since  various  editions, 
copies  and  reproductions 
have  been  published  on  the 
continent  and  in  England.  But  it  may  be  safely 
said,  that  the  wood-cuts  of  Albert  Durer  are  almost 
unknown  to  Americans.  There  cannot  be,  in  this 
country,  more  than  two  or  three  complete  sets  of 
the  thirty-seven  illustrations  known  as  the  Eittle 


6 


Passion.  Few,  indeed,  are  to  be  found  anywhere.  The 
first  object  then  may  challenge  criticism.  It  is  simply 
to  place  in  the  hands  of  Americans,  whether  lovers 
of  art  or  those  seeking  information,  the  works  of  a 
great  master,  works  of  exceeding  force  and  beauty, 
full  of  suggestion,  full  of  passionate  devotion.  In  all 
the  history  of  illustration  there  is  no  such  series  as 
this,  no  collection  by  any  one  artist  more  worthy  of 
study,  more  rich  in  wonderful  thought. 

The  second  object  of  this  publication  is  some- 
what different.  A great  improvement  in  the  art  of 
illustration  is  an  object  of  interest  to  all  lovers  of  the 
beautiful.  There  is  no  more  fitting  method  of 

introducing  it  to  them  than  by  dedicating  it  to  the 
reproduction  of  the  works  of  a great  master,  and 
especially  of  a master  who  may  be  rightly  regarded 
as  the  originator  of  almost  all  that  is  beautiful  in  wood 
engraving. 

From  time  to  time  during  the  past  ten  years 
processes  have  been  introduced  to  the  world  whose 
object  is  the  reproduction  of  drawings,  engravings 


7 

and  other  illustrations.  That  which  is  used  in  the 
present  volume  is  one  of  the  latest,  and  its  success 
is  visible  to  the  eyes  of  the  reader.  Had  it  been 
known  in  the  time  of  Albert  Durer  he  would  not  have 
needed  to  employ  the  wood  engraver  for  the  purpose 
of  multiplying  impressions  of  his  noble  drawings. 
The  process  of  making  them  would  have  been  more 
simple  and  rapid.  The  drawing  would  have  been 
photographed  in  a few  minutes,  and  the  photograph, 
being  taken  in  transfer  ink,  would  in  a few  minutes 
more  have  been  impressed  on  stone,  from  which  stone, 
by  the  ordinary  lithographic  press,  the  work  would 
have  been  printed  to  any  desired  extent.  Durer  is  not 
living  to  increase  the  number  of  his  works,  but  there 
is  no  longer  any  reason  why  the  vastly  multiplied 
population  of  lovers  of  art  should  not  be  supplied  with 
fac-simile  copies  of  those  works  which  are  extant. 
The  process  which  is  used  in  this  volume  furnishes 
an  exact  copy  of  the  original,  without  changing  a line 
or  shade.  The  defects  which  are  visible  here  and  there 
are  defects  in  the  original  plates,  accurately  copied 


8 


by  this  process.  In  short,  this  edition  is  “from  the 
original  impressions 11  by  the  newly  discovered  art  of 
transferring  with  the  aid  of  light.  It  is  not  improbable 
that  the  present  issue  will  be  followed  by  other 
reproductions  of  works  of  the  early  masters. 

Having  thus  stated  the  objects  of  the  publication, 
it  remains  only  to  give  a brief  history  of  the  Artist,  his 
art,  and  His  work  now  republished. 


ORE  than  four  centuries  have 
passed  since  the  readers  of  books 
in  Europe  first  saw  them  illustrated 
with  engravings.  The  invention  of 

O O 

printing  with  moveable  type  sprang 
from  the  previously  existing  art  of 
engraving  on  wood.  Whether  Guttenberg  in  Strasburg 
and  Mayence,  or  Koster  in  Harlem,  be  rightfully  honored 
as  the  inventor  of  the  great  art,  there  is  no  dispute  that 
for  a long  time  previous  to  their  first  work  there  had 
been  wood  engravers,  and  more  or  less  books  had  been 
printed  and  published,  the  pages  being  impressed  from 


9 

engraved  blocks  of  wood.  It  does  not  concern  our 

O 

present  purpose  to  enumerate  the  block-books,  of  which 
copies  or  fragments  are  extant,  nor  to  discuss  the  dates 
of  their  several  productions.  Not  only  books  had  been 
thus  published.  It  is  evident  that  prints  were  issued 
separately,  and  that  in  the  early  part  of  the  fifteenth 
if  not  in  the  fourteenth  century,  the  people  of  Europe 
were  somewhat  familiar  with  wood-cuts.  The  dates 
may  be  stated  in  general  as  follows:  In  or  soon  after 

the  year  1400,  wood  engraving  was  known  in  Germany, 
and  block-books  were  published,  the  illustrations  and 
text  being  engraved  on  the  same  block.  About  the 
middle  of  the  fifteenth  century  printing  with  moveable 
and  metallic  types  began  to  be  practised.  A few  years 
later  wood-cuts  were  used  for  the  illustration  of  books 
which  were  printed  with  moveable  type. 

The  earliest  known  wood-cut  which  bears  a date 
is  a large,  rude,  but  forcible  representation  of  St. 
Christopher,  bearing  the  child  Christ  across  the  stream. 
This  cut  is  eleven  and  a quarter  inches  high,  by  eight 
and  an  eighth  inches  in  width.  It  is  dated  1423. 


IO 


The  earliest  book,  printed  from  moveable  type  and 
illustrated  with  wood-cuts,  is  a book  of  Fables,  printed 
by  Pfister,  at  Bamberg,  in  1461.  It  should  be  remarked 
however,  that  ornamental  initial  letters,  engraved  on 
wood  blocks,  were  used  at  an  earlier  date. 

The  first  printing  was  intended  to  be  and  was  a 
close  imitation  of  manuscript,  in  the  style  of  the  most 
highly  esteemed  specimens.  The  first  block-books, 
uniting  the  illustration  with  the  description,  were  of 
course  made  by  drawing  on  the  wood-block  the 
illustration,  writing  in  reverse  the  description,  and  then 
cutting  away  the  wood  where  not  covered  with  the 
lines  of  manuscript  and  illustration.  The  custom  of 
beautifying  and  illuminating  manuscripts  had  prevailed 
from  the  remotest  periods.  The  early  Egyptian  papyri 
give  us  abundant  examples.  In  the  fourteenth  and 
fifteenth  centuries  the  art  of  illuminating  manuscripts 
had  been  brought  to  very  great  perfection.  The  initial 
letters  of  chapters  were  frequently  elaborate,  and  some- 
times contained  exquisitely  colored  miniatures  of  heads 
or  of  groups,  flowers,  arabesques,  and  quite  often 


grotesque  designs.  It  naturally  came  to  pass,  that 
immediately  alter  the  invention  of  printing  with  move- 
able  type,  the  idea  of  engraving  ornamental  initial 
letters  to  imitate  the  manuscripts  was  seized  upon. 
Many  of  the  early  books  were  printed  with  blanks 
where  the  illuminator  was  expected  to  insert  the  initial 
letter,  ornamented  to  suit  the  taste  and  wishes  or  the 
purse  of  the  possessor  of  the  volume.  Other  books 
were  printed  with  ornamented  initials,  and  the  variety 
and  beauty  of  these  soon  became  very  great.  More 
taste  and  skill  was  exhibited  by  the  early  wood  engravers 
in  this  work  than  in  general  illustration,  and  the  im- 
provement in  the  art  of  engraving  these  letters  was 
more  rapid  and  marked  than  in  other  departments  of 
the  art.  It  is  frequently  a matter  of  surprise,  that  the 
tasteful  and  careful  printers  of  the  day  could  see  their 
books  ornamented  with  such  fine  designs  in  the  initials 
and  be  content  with  the  coarse  and  rude  works  which 
for  a long  period  served  the  purposes  of  general 
illustration. 

A few  specimens  of  ornaments  of  pages  and  initial 


letters  have  been  selected  from  works  published  about 
the  time  of  Albert  Durer,  and  used  in  this  volume,  not 
as  exhibiting  any  history  of  progress  in  the  art,  but 
merely  as  affording  a few  examples,  in  absolute  fac- 
simile, of  different  styles  of  ornament  of  the  period. 
Hundreds  of  other  varieties  might  be  given.  Title 
pages  to  books  were  unknown  until  toward  the  close 
of  the  fifteenth  century,  when  it  began  to  become 
common  to  ornament  the  title  page  with  wood-cut 
borders,  and  from  this  followed  rapidly  the  plan  of 
ornamenting  other  pages,  by  surrounding  the  type  with 
borders.  In  all  these  styles  of  beautifying  books  the 
wood  engravers  seem  to  have  had  great  success,  as  great 
indeed  as  has  been  achieved  in  later  centuries.  Perhaps 
it  was  owing  to  the  fact  that  their  designs  were  but 
copies  of  the  existing  illuminations  of  manuscripts  which 
abounded  in  so  much  beauty ; or  it  may  have  been  due 
to  the  employment,  in  this  department,  of  men  accus- 
tomed to  engraving  type,  who  were  in  many  instances 
goldsmiths,  or  workmen  in  gold  and  silver,  and  thus 
familiar  with  the  art  of  exquisite  chasing  in  metals. 


Whatever  the  explanation,  it  is  quite  certain  that  wood 
engraving  in  general  made  little  advance  for  a half 
century,  except  in  the  ornaments  of  the  pages  by 
initials  and  otherwise.  The  following  cut,  which  is  a 
fac-simile  from  the  Fasciculus  Temporis , published  in 
14*77,  serve  to  show  the  general  character  of  the 
illustration  of  that  period,  and  the  earliest  style  of  wood 
engraving  for  books. 


This  rude  cut,  it  will  be  observed,  is  surrounded 


by  a legend,  which  was  set  up  in  moveable  type,  the 
whole  being  in  the  middle  of  a page  in  the  volume. 
It  affords  a fair  specimen  of  the  style  of  figure  engraving 
on  wood  of  that  date.  The  following  cut  from  the 
same  volume,  a representation  of  a citv,  is  an  equally 
fair  specimen  of  the  architectural  and  landscape  work 
of  the  time. 


Between  this  time  and  the  close  of  the  century 
there  were  some  wood  engravers  who  improved  much 
on  the  art.  But  none  of  them  made  any  such  striking 
advance  as  to  impress  their  style  on  cotemporaneous  work, 


i5 

until  the  time  of  Durer. 
The  Nuremberg  Chronicle , 
published  in  1493,  contains 
an  immense  number  of  wood- 
cuts,  exhibiting  in  general 
very  little  improved  skill  in 
design  or  execution,  but  here 
and  there  presenting  a figure 
or  group  which  seems  to  have 
come  from  the  hand  of  a 
master.  Perhaps  no  more 
fair  specimen  can  be  given 
of  the  best  style  in  this 
celebrated  book  than  the 
accompanying  fac-simile  of 
a picture  of  Noah. 

Nevertheless  there  were, 
at  this  period,  in  all  parts  of 
Europe,  men  who  were  able 
to  be  masters  in  the  art,  and 
who  seem  only  to  have  needed 


1 6 


the  example  and  lead  of  such  an  one  as  Albert  Durer. 
When  they  received  this,  the  improvement  was  instan- 
taneous. Within  ten  years  the  art  was  brought  to  a 
degree  of  perfection  which  is  astonishing  when  we 
reflect  on  the  long  time  during  which  it  had  languished. 
The  world  began  to  be  filled  with  illustrated  books. 
During  the  early  part  of  the  sixteenth  century  perhaps 
as  large  a proportion  of  the  printed  books  were 
accompanied  with  illustrations  as  in  any  modern  time. 
And  the  effective  character  of  these  illustrations  will 
challenge  comparison  with  productions  of  the  art  in 
later  times. 

The  reader  who  is  familiar  with  the  history  of 
wood  engraving  will  pardon  this  detail,  which  is 
designed  for  those  who  have  not  had  the  opportunity 
of  informing  themselves  on  the  subject.  It  seemed 
necessary,  for  such  persons,  to  give  this  much  of  the 
history  of  the  art,  that  they  might  obtain  a correct 
view  of  the  importance  which  attaches  to  the  wood- 
cuts  of  Albert  Durer. 


i7 

UCH  was  the  influence  of 
Durer  on  cotemporary  art, 
that  although  it  is  not  to 
be  claimed  that  he  was  the 
first  wood  engraver  who 
deserves  rank  as  a master, 
there  is  undeniable  force  in 
the  claim  that  Durer  was 
the  first  who  sought  how  to  make,  and  who  succeeded 
in  making  the  wood-block  the  medium  of  conveying 
to  paper,  impressions  of  drawings  which,  in  spirit,  tone 
and  color,  approximated  to  the  art  of  painting,  an  art 
in  which  he  was  an  acknowledged  master.  With  his 
great  success  as  an  engraver  on  copper  we  have  nothing 
to  do  in  the  present  work.  I have  chosen  to  call  Durer 
a wood-engraver.  There  has  been  much  paper  wasted 
in  discussing  the  question  whether  he  ever  engraved 
his  own  blocks,  or  whether  he  drew  the  pictures  on 
wood  and  left  them  to  be  cut  by  unknown  workmen. 
The  question  is  about  as  important  as  whether  Canova 
or  Crawford  handled  the  chisel  and  hammer,  and  cut 


i8 

his  own  statues  irom  the  marble  block.  It  is  certain 
that  he  drew  on  the  wood-block  and  caused  to  be 
engraved  a style  of  work  unknown  before,  and  there 
is  no  evidence  to  be  found  that  he  did  not,  if  occasion 
required  it,  use  the  knife  himself  to  finish  choice  lines, 
or  to  show  the  formschneider  how  best  to  execute  the 
new  style  of  engraving  which  was  given  him  to  do. 
It  is  evident  from  examination  of  existing  blocks,  that 
some  of  them  were  engraved  by  different  workmen. 
It  foil  ows,  that  like  modern  artists  on  wood,  he  some- 
times employed  engravers  to  do  his  work.  It  is  possible 
that  he  did  nothing  more  than  direct  the  work,  lending 
such  aid  as  he  must  necessarily  do  to  carry  out  his 
designs.  It  is  possible  that  he  sometimes  did  his  own 
engraving,  but  nothing  can  be  affirmed  with  certainty 
on  this  point.  If  Thorwaldsen  was  a sculptor,  Durer 
was  a wood  engraver. 


!9 

LBERT  DURER  was  born  at 
Nuremberg,  May  20,  1471.  Elis 
father  and  his  mother’s  father 
were  goldsmiths.  Goldsmiths  in 
that  day  were  practical  engravers, 
and  Durer  worked  at  his  father’s 
trade  until  he  was  sixteen  years  old.  Then,  at  the 
son’s  earnest  request,  his  father  placed  him  as  a pupil 
with  Michael  Wolgemuth  to  learn  the  art  of  painting. 

It  is  hardly  probable  that  we  shall  ever  know 
much  about  Wolgemuth.  Some  of  the  writers  on 
wood  engraving  in  Europe  are  given  more  to  criticising 
and  discrediting  one  another  than  to  affording  much 
aid  to  the  seeker  after  definite  truth.  One  asserts  that 
Wolgemuth  was  an  engraver  on  wood,  and  another 
denies  it.  One  asserts  that  he  engraved  on  copper, 
and  another  denies  it.  After  reading  a hall  dozen 
authors  who  have  equal  title  to  respect,  the  student 
in  the  nineteenth  century  may  well  begin  to  doubt 
whether  Wolgemuth  is  not  wholly  a myth.  We  will 
not  enter  on  the  discussion,  but  accept  the  naked  fact, 


20 


conceded  by  all,  that  Durer  was  his  pupil,  and  that 
in  the  blaze  of  the  scholar’s  fame  the  master’s  was 
darkened,  so  that  he  is  nearly  lost  to  history.  Before 
the  close  of  the  century,  Durer  had  become  the  great 
illustrator  of  his  age. 

H is  earliest  wood-cuts  with  a date  are  a series  of 
sixteen,  known  as  the  Apocalypse,  and  published  at 
Nuremberg  in  1498.  He  had  previously  published 
copperplate  engravings,  the  first  of  which  bearing  a 
date  is  of  1494.  These  cuts  of  the  Apocalypse  are 
interesting  as  being  the  first  of  the  improved  age,  the 
great  forerunners  of  wood  engravings  as  illustrations 
of  exalted  art.  They  gave  a new  impetus  to  illustrative 
work.  Their  effect  is  visible  in  the  productions  of  co- 
temporary artists,  and  they  may  be  looked  on  as  forming 
the  first  of  the  long  series  of  wood  engravings  which 
deserve  rank  with  the  finest  products  of  the  pencil  or 
the  burin. 

In  1510,  Durer  published  a series  of  eleven  large 
wood  engravings,  entitled  Passio  Domini  nostri  Jesu,&c. 
This  series  is  generally  known  as  the  Great  Passion. 


It  was  followed  very  shortly  by  the  series  of  thirty-seven 
cuts  which  are  given  in  the  present  volume,  and  which 
Durer  himself  called  The  Little  Passion,  Die  kleine 
Passion , distinguishing  it  thus  from  the  larger  series 
of  eleven. 

The  first  issue  of  these  cuts  appears  to  have  been 
without  letterpress  accompanying  them.  I am  not  aware 
of  the  existence  at  present  of  any  complete  copy  of  that 
edition,  nor  is  it  altogether  certain  that  they  were  pub- 
lished as  a book.  Among  the  examples  of  Durer ’s 
works  in  my  possession  are  twenty  of  this  first  issue, 
without  the  letterpress  on  the  back.  The  first  issue 
did  not  include  the  title  page  with  the  seated  figure 
of  Christ.  The  dates  1509,  1510,  which  are  found 
on  some  of  the  cuts,  fix  the  period  of  the  work,  and 
they  may  therefore  be  regarded  as  specimens  of  the 
artist’s  ability  in  the  zenith  of  his  fame.  The  second 
edition  was  published  by  Durer  shortly  after  the  first, 
and  in  this  appeared  the  seated  figure  of  Christ,  while 
he  also  accompanied  the  cuts  with  Latin  verses,  by 
Chelidonius,  printed  on  the  backs  of  the  engravings. 


22 


The  wood-blocks  seem  to  have  been  lost  sight 
of  after  this  for  a hundred  years,  but  in  1612  an 
edition  was  published  by  Basuccio  in  Venice,  from  the 
original  blocks.  It  is  said  these  had  been  purchased  in 
the  Netherlands. 

In  1839,  a part  of  the  original  blocks  came  into 
possession  of  the  British  Museum,  by  purchase,  from 
the  son  of  a deceased  clergyman  of  England,  who  had 
bought  them  some  years  previously  in  Italy.  In  1844 
an  edition  was  published  in  London.  It  was  not 
printed  directly  from  the  blocks,  which  had  become 
somewhat  worm-eaten,  and  more  or  less  worn  and 
broken,  but  from  stereotype  casts  taken  from  the  blocks, 
and  retouched  and  repaired  by  a distinguished  wood 
engraver.  It  may  thus  be  said,  that  four  editions  have 
been  published  substantially  from  the  original  blocks. 
Besides  these  however,  the  copies,  reproductions  and 
imitations  of  this  series,  or  of  portions  of  it,  have  been 
very  numerous.  During  the  lifetime  of  Durer,  Marc 
Antonio,  in  Venice,  published  his  remarkable  fac- 
similes of  them  on  copper,  a reproduction  which 


23 

excited  the  indignation  of  Durer.  Hence  is  said  to 
have  arisen  one  of  the  earliest  cases  of  copyright 
prosecution,  when  Durer  sought  justice  from  the 
Venetian  authorities.  Unhappily  there  is  no  existing 
report  of  the  case,  and  it  is  even  doubtful  whether  the 
whole  story  is  not  mythical. 

Other  artists  copied  Durer  in  his  own  day,  and 
shortly  after  his  death.  Laurence  Hopfer  made  some 
very  close  copies  of  a portion  of  this  series,  substituting 
his  initials  L.  H.  for  the  monogram  of  Durer. 

But  it  was  not  in  copying  his  works  that  artists 
most  distinctly  acknowledged  the  superiority  of  the 
master.  It  was  rather  in  the  immediate  adoption  of 
his  instruction,  which  began  to  be  visible  from  the 
time  of  his  earliest  publications,  and  increased  rapidly 
to  the  period  of  his  death.  In  any  collection  of  wood- 
cuts,  extending  down  to  the  year  1530,  Durer  seems 
to  be  the  teacher  to  whom  all  others  were  looking,  and 
toward  whom  they  endeavored  to  approximate  in  style 
and  effect.  There  had  been  great  masters  before  him, 
and  there  were  cotemporary  artists  who  worked  in 


24- 

copperplate,  who  were  the  equals,  and  even  the 
superiors  of  the  Nuremberg  illustrator.  But  in  the 
art  of  wood  engraving,  in  which,  far  more  than  in 
copper  or  steelplate  engraving,  the  artist  is  enabled  to 
throw  his  soul  into  the  picture,  and  the  world  is 
subsequently  able  to  read  that  soul,  there  had  been 
no  one  to  compare  with  him.  Before  his  day  a wood 
engraving  had  been  the  picture  of  one  simple  idea,  but 
Durer  made  it  a poem,  even  an  epic. 

Durer  died  in  1528.  His  fame  and  his  influence 
on  art  survived  and  increased  from  year  to  year.  Many 
of  the  strongest  effects  produced  by  wood  engraving, 
even  in  our  own  day,  are  due  to  a careful  study  and  close 
following  of  the  example  of  the  great  German  master, 
and  a return  to  his  bold  and  vigorous  style  from  the 
comparatively  effeminate  manner  of  a portion  of  the 
modern  school. 


25 

ERTAINLY  it  would  be  folly 
to  attempt  an  analysis  of  the 
merits  of  the  drawings  of  Durer 
herewith  presented  to  the  reader. 
If  they  do  not  repay  a studious 
examination  no  aid  would  be 
derived  from  any  letterpress  assistance.  One  remark 
on  this  subject  seems  all  sufficient.  It  is  not  often  that 
the  eye  rests  on  a wood-cut  which  produces  a lasting 
impression  on  the  mind.  But  however  rude  or  even 
grotesque  the  work  of  Durer  may  seem,  it  is  hardly 
possible  to  look  at  one  of  these  cuts  and  turn  away 
to  forget  it.  The  strong  lines  of  the  artist  imprint 
their  ideas  on  the  mind  of  the  beholder,  who  will 
hardly  be  able  to  forget  any  one  of  the  figures,  or  to 
lose  the  emotional  effect  of  the  group.  There  is  a 
union  of  the  most  profound  tenderness  of  expression 
with  a bold  and  free  treatment  of  the  subjects  which 
has  never  been  surpassed,  if  ever  equalled  by  any  artist 
on  wood  or  metal.  I think  that  in  the  kneeling  figure 
of  the  Virgin  parting  with  her  Son  and  Lord,  (No.  6,) 


26 


there  is  as  much  emotion,  love,  reverence  and  grief 
combined,  as  in  any  existing  work  however  elaborate. 
Yet  of  the  person  of  the  mother  there  is  visible  nothing 
more  than  her  clasped  and  uplifted  hands  and  a dark 
dim  outline  of  a clouded  face. 


I. 

II. 

III. 

IV. 
^ V. 
" VI. 

VII. 

VIII. 

IX. 
^ X. 

XL 
- XII. 

XIII. 

XIV. 
■"  XV. 

XVI. 


THE  LITTLE  PASSION. 

Title  page  of  the  second  edition. 

— Christ  mourning  over  the  sins  of  man. 

The  Lall  of  man. — Adam  and  Eve  receiving  the  apple. 
The  Curse. — Adam  and  Eve  expelled  from  Eden. 

The  Annunciation. 

The  Nativity. 

Christ  taking  leave  of  his  mother  Mary. 

Christ  entering  Jerusalem  in  triumph. 

Christ  scourging  the  money  changers  from  the  Temple. 
The  Last  Supper. 

Christ  washing  the  feet  of  the  disciples. 

The  Agony  in  the  garden. 

The  Betrayal  by  Judas. 

Christ  brought  before  the  high  priest. 

Christ  blindfolded  and  buffeted. 

Christ  conducted  to  Pilate. 

Christ  dragged  before  Herod. 


28 


XVII. 
^ XVIII. 
XIX. 
XX. 
XXI. 
XXII. 
XXIII. 
^ XXIV. 
XXV. 
XXVI. 
" XXVII. 
XXVIII. 
- XXIX. 
XXX. 
XXXI. 
XXXII. 
XXXIII. 
XXXIV 
XXXV. 
XXXIV. 
XXXVII. 


Christ  brought  again  before  Pilate. 

The  Flagellation. 

Christ  crowned  with  thorns. 

Ecce  Homo. — Christ  exhibited  to  the  people. 

Christ  led  away — Pilate  washing  his  hands. 

Christ  falling  under  the  Cross. 

St.  Veronica  with  the  sudarium,  between  Peter  and  Paul. 
Christ  nailed  to  the  Cross. 

The  Crucifixion. 

Christ  in  Hades. 

The  Descent  from  the  Cross. 

The  Mourning  of  the  Holy  Women  over  the  dead  Christ. 
The  Entombment. 

The  Resurrection. 

Christ  appearing  to  his  mother  Mary. 

Christ  appearing  to  Mary  Magdalen  in  the  garden. 

The  Supper  at  Emmaus. 

The  Incredulity  of  Thomas. 

The  Ascension. 

The  Descent  of  the  Holy  Ghost. 

The  Judgment  of  all  men. 


gaflio  £bri(tiabBbmo  %>\xm 

K renbergenfi cfftgfata  cu  van jgenevis  carmi 
nibus  Fratris  Benedidti  Qielidoni  j 
Mufophdu 


O cruets  O mortis  caufa  cruenta  rmhit 
Ohomo  fat  fuerit.tibi  me  femel  ifta  tuliffe? 
O ce(Ta  culpis  me  craciare  nouis, 


II 


* 


/ 


XII 


XV 


xvm 


XXIV 


< <0 


XXIX 


X 


O' 


XXX 


XXXI 


* 


' *■ 


XXXVI 


MKOtal 


